Amateur Photographer & Cinematographer (1933)

October nth, 1933 The AMATEUR PHOTOGRAPHER a G CINEMATOGRAPHER <5 PICTURES oftkeWEEK -r Some Critical Comments on the Beginners’ prints reproduced on the opposite page. UNDOUBTEDLY there are many points in No. 1 of the prints reproduced on the opposite page — " Springtime in the Rockies,” by I. F. Meiklejohn — that compel our admiration. There is a good impression of the immensity of the mountain scenery ; the effect of sun¬ shine upon the snow is visible, and the form of the trees in the foreground is by no means unpleasing. Parts and the Whole. Yet, as a whole, it seems somewhat disjointed, and the interest seems dissipated over too many things. This seems to arise, primarily, from the fact that the foreground scarcely fits the distance. If the distance were perfectly even in tone, or, at all events, did not present such a marked contrast with the dark of the trees, the suggestion of unsuitability would not occur. Nor, with the distance as it is, but with the foreground so massed that detached bits of light tone did not make an appearance through it, would that impression arise. Singly, each of the two items might be satisfactory, but, together, they do not harmonise. The foreground would be satisfactory with another type of distance, and the distance, as it now is, would be better shown if accompanied by a different foreground. Speaking without any knowledge of the neighbourhood, and therefore sub¬ ject to correction, it might be found possible, by the choice of a different viewpoint — either higher or lower, or to the right or left — so to rearrange the subject that the present objections would no longer be applicable. It is conceivable that a higher view¬ point would avoid the inclusion of the trees, and enable a simpler fore¬ ground to be substituted. Freedom of Choice. In that case the main interest would lie in the sunlit mountains of the distance. If a lower standpoint were chosen, it is likely that less of the distance would be shown, and that the appeal would then rest with the foreground trees, for, the area of the former being reduced, there would be less chance of bits of light showing through the foliage. Similarly, move¬ ment to the right or left might afford a like alteration in the relative dis¬ position of foreground and distance. In a subject of this type, there would appear to be a not inconsiderable freedom of choice, and were this exercised in any of the directions indicated, it is probable that some improvement might be expected. One of the two elements — fore¬ ground or distance — should predomi¬ nate. Then, other things being equal, the disjointed effect will disappear and the work will appeal as a whole and not in its individual parts alone. In No. 3, “ Langdale Pikes,” by john C. Green, there is something of the same sort of feeling, but it arises rather from a sense of division between the foreground and distance, than by reason of brighter tone encroaching on the foreground. Connecting Links. The stone wall — a pronounced cha¬ racteristic of the Lake District — is too marked a feature, and divides the foreground from the distance too abruptly. Each appears to exist as a separate element, whereas, if there were a break in the wall, or it dis¬ appeared in an inequality in the ground somewhere about the centre, a connecting link would be established that would unite the two portions, and prevent the feeling of division. The question of dealing with these walls is always a problem. The difficulty that was experienced in this case can sometimes be surmounted by lowering the viewpoint so that a projection in the foreground covers the wall in part and makes the re¬ quired connection between foreground and distance. In other cases, the wall can be treated so that it is seen at an angle, instead of broadside on, and be lost in the middle distance. Sometimes there is a gate, of which full use should be made, or there may be nothing for it but to get over the wall and dispense with it altogether. If the dividing line between the two meadows in No. 5, “ Buttermere,” by G. C. Littler, be composed of such a wall — the definition is not good enough to enable the point to be definitely decided — it illustrates one of the ways of dealing with the draw¬ back, and one which is quite successful. It is reduced to insignificance, and, though its scale might be increased without disadvantage, it shows that the problem is not insoluble. Well-seen Subjects. The subject itself is well chosen, but it suffers a little from the fact that all the weight is on the right-hand side. Something in addition to the copse on the left is needed to provide an adequate balance, and, though that group of trees is helpful, and it would not do to make the sides equally heavy, possibly the best way of counteracting the lack of tone on the left would be by the introduction of a heavier cloud in the top left-hand corner. With the present negative, a little local extra printing in that corner would improve matters a good deal, and, moreover, would emphasise the feeling of luminosity. The pictorial content would thereby be appreciably enhanced, and the appeal of the picture rendered more attractive. The same device, applied along the top edge of No. 2, “ On the Rangoon River,” by T. L. Gandhi, would have a like effect, and the gain in luminosity would similarly enhance the artistic attraction. The group of boats on the right, which form the centre of interest, makes up very well, and, as in the former case, the subject was very well 'seen. Points of Attraction. In No. 4, " Sunlight in the Glade,” by G. A. Bould, the subject suffers from an excess of points of attraction. As with No. 1, there are too many points of light, each of which, to some extent, attracts the eye. In the same way, the interest is divided, and, though the effect of sunshine on the foliage was undoubtedly pleasing, it would have to be severely localised to be effective pictorially. The fence and tree, too, do not seem to be appropriate inclusions, and, judging from the nature of the scene, it would appear that, from a viewpoint to the right of the tree, the lights might be better grouped and drawn nearer together, which is what the picture needs. “ Mentor.” 340 1 7